Vol 1 Issue 3

From The Editor


Greetings and welcome to the third issue of the MCPH Film Club Journal.

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In the Mood for Lonesomeness

Scope | Tanushree Baijal

An examination of Wong Kar-Wai's alternate imaginings of loneliness

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‘The Trouble is the Tedium’: An Interview with Ashish Rajadhyaksha

Profile | Archana R

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Rethinking Adaptation in the Indian Scenario

Scope | Ananya Parikh

Some thoughts on studying the relationship between film and literature in India

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From the inside, in Black and White: Tharlo, A Tibetan shepherd

Scope | Françoise Robin

Perspectives on Tharlo, the Tibetan shepherd, and the emerging Tibetan cinema scene in France

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Watching Films: Then and Now: A Personal Narrative

Life | Sowmya Dechamma

How far can one shelter today’s kids from watching movies that reflect the reality around them, and is censoring the right thing to do?

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ANDHA NAAL: A Case for Film Noir

Scope | Bharath Kumar

The movie in question is Andha Naal (1954) directed by one of the architects of Tamil film industry, S. Balachandar(SB), considered the Alfred Hitchcock of Tamil Cinema.

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Making the Ordinary, Extraordinary: An Interview with Sunanda Bhat

Profile | Varsha R. Adibhatla

Sunanda Bhat, the director who started Songline Films, discusses about her film ‘Have You Seen the Arana?’ which deals with ancient tribal creation mythology.

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The Image Undone

Scope | Arundhati Sethi

Exploring the Unfinished and Continuous Construction and Deconstruction of Identities in Mira Nair’s Monsoon Wedding

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“It was not a planned move”: Salam Kodiyathur on Home Cinema

Profile | Mohamed Shafeeq Karinkurayil

A Professional drama troupe decides to start a new concept called 'Home Cinema' which basically started off as releasing movies via cassettes instead of theatres. Later, cassettes were replaced by CDs.

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The Makeup Artist – Exploring Two Sides

Apparatus | Megha Solanki

The position of a make-up artist is one that has evolved throughout the span of movies, developing various nuances of its own, to present a group of people that are needed on the sets of a film for the representation of the characters on camera.

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